“Great Contemporary Bow Makers from the 21st Century, Vol. II”

Posted in Books, Contemporary bow makers, Contemporary bow making, Historic bow makers, Port Townsend on February 8th, 2014 by Robert Morrow

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This post is several months overdue.  Please forgive me.  In September of 2013 Andy Lim of Darling Publications, Cologne, Germany released his publication of “The Great Contemporary Bow Makers of the 21st Century” Vol. II.  The event was held at the Palazzo Trecchi in Cremona, Italy.  Twenty makers including myself are featured in this volume (full list to follow).  Andy released “The Great Contemporary Bow Makers of the 21st Century” Vol. II, and another book documenting the exhibition at Palazzo Trecchi cataloguing the work and biographies of the 57 makers who were in attendance.

Andy Lim is a talented publisher, cellist, business man, and he throws quite a party from time to time.  The 15th century Palazzo Trecchi in the home town of Antonio Stradivari, made a splendid back drop for the gathering of 28 bow makers and 29 violin makers from around the world.  Three days were spent eating and drinking in the good company of many fine archetiers and luthiers as well as various other people from the world of stringed instruments.  The makers shared an exceptional camaraderie during this time as we admired and discussed each others work.

For a more detailed description of the book see my earlier post on Vol. I.

Bow makers who were included in Vol. II

Morgan ANDERSEN-Rosalia (WA), USA

Emmanuel BÉGIN-Montreal, Canada

Victor BERNARD-Paris, France

Emmanuel Carlier-Bruxelles, Belgium

Edwin CLÉMENT-Paris, France

Sebastian DIRR-Erlangen, Germany

Blaise EMMELIN-Toulouse, France

Bernd ETZLER-Gód, Hungary

Eric FOURNIER-Quimper, France

Boris FRITSCH-Paris, France

Éric GAGNÉ-Montreal, Canada

Eero HAAHTI-Helsinki, Finland

David HAWTHORNE-Boston, USA

Ole KANESTROM-Port Townsend, USA

Gary LEAHY-Newport, Ireland

Dirk LÖSCHER-Barcelona, Spain

Robert MORROW-Port Townsend, USA

Rudolf NEUDÖRFER-Bubenreuth, Germany

Mitsuaki SASANO-Nice, France

Emilio SLAVIERO-Cremona, Italy

Georges TÉPHO-Quimper, France

Stéphane THOMACHOT-Cucuron, France

Risto VAINIO-Helsinki, Finland

 

 

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More on the stick #1

Posted in Contemporary bow makers, Contemporary bow making, Pernambuco, Roughing out the stick, Stick selection on October 13th, 2011 by Robert Morrow

My next bow will be a cello bow and I’ve selected a handful of candidates from the rack.  Selecting a stick is one of the most demanding and nerve racking steps for me in bow making.  If I don’t look carefully a flaw in the stick could become apparent later in the process rendering the stick useless.  The maker can waste a lot of time this way so it pays to spend time pouring over the stick early on.  Some common flaws are discoloration, cracks, run out in the grain, problems with the grain orientation, the wood being too dense or too light, large knots (small knots are permissible, beautiful even, and often are an indication of very nice wood), lack of strength, and an absence of nervousness in the stick.  Nervousness is a way to describe the liveliness of a particular piece of wood.

 Progress, I am now down to my four favorites from the initial selection.  These will likely all work quite well.  They are beautiful, strong, the proper density, lively, and seem to be free from imperfections.  This photo shows the basic shape of a stick after it has been cut from the board.  The next step is to begin roughing the stick out so that it will be ready for the initial bend.

Here you can see a stick which has been roughed out and is ready to be bent.  The dimensions of the original stick have been reduced but still remain oversized to facilitate further planing as the bow takes shape.   Every curl of wood in this photo represents a stroke with the hand plane.  That is a lot of plane strokes, and the stick is only roughed out!  Many more will follow before this bow is ready.  I rejected this stick because it shows some run out in the grain.  I should have caught it earlier, but oh well.  On to the next stick.  One of Charles Espey’s early teachings to me was never to use materials that are even the slightest bit questionable.  It is an excellent piece of advice for the bow maker.

This photo shows a comparison to the earlier photo of the end of the stick.  Here you can see how the shape of the stick is changing.  The triangular shape that you see flows back toward the handle end of the stick but gradually becomes square as it does.  The stick is shown on a card of drawings from old French bows that I have sketched over the years.

In the next post I will describe the process of putting in the initial, rough camber.

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